|Publication number||US7180524 B1|
|Application number||US 10/260,159|
|Publication date||Feb 20, 2007|
|Filing date||Sep 30, 2002|
|Priority date||Sep 30, 2002|
|Also published as||US8089482|
|Publication number||10260159, 260159, US 7180524 B1, US 7180524B1, US-B1-7180524, US7180524 B1, US7180524B1|
|Original Assignee||Dale Axelrod|
|Export Citation||BiBTeX, EndNote, RefMan|
|Patent Citations (36), Non-Patent Citations (28), Referenced by (109), Classifications (13), Legal Events (4)|
|External Links: USPTO, USPTO Assignment, Espacenet|
A portion of the disclosure of this patent document contains material which is subject to copyright protection. The copyright owner has no objection to the facsimile reproduction by anyone of the patent document or the patent disclosure as it appears in the Patent and Trademark Office patent file or records, but otherwise reserves all copyright rights whatsoever.
1. Field of Invention
This invention relates to color-appearance systems, specifically to the organization of colors for use by artists.
2. Prior Art
Color-appearance systems are plans by which colors may be defined, arranged, displayed, compared, selected, and in some cases, formulated. Having a color chart, swatch book, or other tabulated reference of displayed color on hand is a convenient way of examining what colors are available. While the human eye is capable of perceiving color with great sensitivity, our color memory is short-lived. Being able to see, compare, and match elements of a color gamut directly can aid an artist or designer in accurately conceiving and assembling color relationships, and in realizing the limits of a specific color medium. Presently there are no color-appearance systems which adequately meet both the traditional and technological needs of today's fine artist. There are ink-based color matching systems tailored to the printing industry and there are pigment-based systems used to specify industrial color matches, but both of these types of systems are too large and complex to be of practical use to the individual working with color on a smaller scale. Also, because these systems are geared toward mass-production colorants, they are not easily adapted to the unique, more expensive, lightfast coloring materials used by artists.
Beyond some published color-mixing recipes and colored paper assortments, no tools are available to aid the artist in effectively dealing with the wide variety of color choices and new media he or she currently encounters, particularly in the realm of computer graphics. Traditional color charts and diagrams, most notably circles and constant-hue charts (
Personal computer graphics software systems are commercially available and have become increasingly popular with artists, photographers, and other users of digital imaging. A general-purpose graphical user interface (GUI) as used in various computer operating-systems, such as those sold under the trademark, Windows by Microsoft Corporation of Redmond Wash., or Macintosh by Apple Computer, Incorporated of Cupertino Calif., as well as a specialized GUI used within many paint and illustration programs, permits the programmer to designate certain portions of the computer screen as “buttons” which may be “pushed,” or color display areas wherein a color may be chosen, or means for displaying “menus” which present lists of actions which can be taken. These on-screen tools are operated by positioning and actuating a pointer device, such as a mouse. When a button, color display area, menu, or other selection device is so actuated, a window is displayed, a color is selected, or some other computer command or interaction is selected and implemented. Choosing a color within this type of GUI is not necessarily easy, however, since the color selection devices (called “color pickers”) usually comprise a representative sampling of the over 16 million colors that can be displayed on the computer screen (
The capabilities of GUI programming have become quite sophisticated. For instance, one illustration program (marketed under the trademark CorelDRAW 8 by Corel Corp. of Ottawa, Ontario, Canada) provides a color picker that allows a user to select a color in the normal manner, by placing a mouse's pointer (or cursor) over a color element and “clicking” (i.e., pressing down and quickly releasing a button on the mouse). However, it also has a feature in which the user depresses the button on the mouse and continues to hold it down. This special action (known as a “mouse press”) triggers the display of a “popup” palette 160 (
While there are earlier examples of circular color organizations, Newton's (
Chevreul's pioneering work of 1839, The Law of Simultaneous Contrast of Colors, contains one of the most influential color circles in history (
Ostwald's color system (
The widely accepted Munsell color system (
Commercial color-appearance systems often build up large numbers of component color samples by basing their range upon the ability of the human eye to differentiate color according to what is called “just noticeable difference.” That is, as soon as a color becomes just noticeably different, either in value, saturation, or hue, it becomes an additional color element in the system. (Estimates of the number of color variations that the human eye can differentiate range between 17,000 and 10 million.) For example, the Japan Color Research Institute, Tokyo (1978), provides a color reference system sold under the trademark Chroma Cosmos 5000. This is one of several color reference systems or multi-paged atlases which, by reason of their large quantity of finely-differentiated color elements (numbering in this case 5000), are too complex for general artistic use. Other similar color systems widely accepted in Europe include those sold under the trademark RAL Design System, from the German Institute for Quality Assurance and Certification e.V. of Sankt Augustin, Germany with 1688 colors, and under the trademark Natural Color System, from The Scandinavian Colour Institute of Stockholm, Sweden with 1750 colors.
A color matching and specification system aimed at decorative artists and craftspeople, currently marketed under the trademark TCS Color Matching System by Tru-Color Systems, Inc. of Danville, Ind., USA, diagrams the visible spectrum divided into 108 contiguous hues on a color circle. Organized into the 12 traditional artists' color families, with 3 additional color families (black, white, and brown) organized separately, the software implementation of the system proposes several methods of achieving harmonious color schemes. By subdividing the hues of each of its color families into 9 contiguous steps of both value and saturation, the TCS system contemplates a potential assortment of 10,208 separately identified colors.
Recognizing the impracticality of choosing visually from among the over 16 million colors available in the typical computer program, U.S. Pat. No. 5,903,255 to Busch et al. (1999) discloses a hexagonal-honeycomb color picker aimed at simplifying computer color selection. Since users generally prefer to select colors by seeing them, rather than by specifying numerical values, and since the smoothly-blended colors presented by some computer programs for color selection have the disadvantage of not allowing the user to visualize or pick a discrete color, the system of this patent utilizes a diagram of honeycomb-cells for displaying a small subset of predetermined colors. The subset, however, comprises only 144 distinct colors, and such an abridged representation of the computer color gamut, while suitable for selecting colors for maps, charts, and business graphics, is inadequate for artistic use.
U.S. Pat. No. 5,254,978 to Beretta (1993) discloses a reference color selection system which creates palettes of calorimetrically measured colors, including artists pigments, and arranges them in a database for access and use in computer graphics programs. The interface with which colors are selected, however, is not formatted in an arrangement of color familiar to artists. This system also takes into account that some strongly saturated artists' colors will fall outside the calibrated monitor's gamut, and their coordinates will need to be modified with suitable gamut mapping or clipping algorithms to bring them back within the boundary of what can be displayed on screen with relative accuracy.
Another U.S. Pat. No. 5,311,212 to Beretta (1994), shows a system, typical of many other prior-art systems, that automatically generates computer color choices for unskilled color users. This patent is incorporated by reference for providing an excellent exposition of the computing environments and methods in which digital color palettes are referenced by onscreen color selection devices, in this case according to algorithms for choosing and displaying harmonious color schemes. However the formulaic theory of color harmony on which these algorithms is based provides only trite color combinations unsuited to most fine arts applications.
In contrast to large, complicated color systems, many patents have issued which organize simplified arrangements of artists' colors according to a single diagram. U.S. Pat. No. 1,805,520 to Grumbacher (1931), for example, is a watercolor palette which places the three subtractive primaries (red-yellow-blue) on a twelve-hued circle. While an efficient format for organizing basic, wet-media elements, this palette has no provision for arranging more comprehensive color assortments.
Another simple palette, disclosed in U.S. Pat. No. 5,209,664 to Wilcox (1993), proposes that the three traditional, subtractive primaries are inadequate for color mixing. Postulating that red, yellow, and blue are never true primaries, but that each always exhibits either a warm or cool bias, Wilcox offers a six-primary format as a more comprehensive arrangement, which overcomes such biases. Hence his palette accommodates three pairs of “biased” primary colors, i.e., an orange-red and a violet-red pair, an orange-yellow and a green-yellow pair, and a green-blue and a violet-blue pair. No accommodation is made, however, for including median primaries, that is primaries which have no perceptible warm or cool bias. Also, as in the Grumbacher patent, supra, and other similar palettes, no provision is made for arranging larger color assortments.
Of all patents which have issued addressing color aesthetics and artistic use, a few are directed specifically to the organization and production of artists' colorants:
For example, U.S. Pat. No. 918,068 to Maratta (1909), discloses color charts presenting the spectrum of artists' pigments in mixtures of two saturation levels. These charts aid the artist in the selection of harmonious color combinations. Maratta's self-manufactured line of paints, containing 24 equally-spaced hues (red, red-red-orange, red-orange, red-orange-orange, orange, etc.), and accompanying formulas for achieving color harmony, was advocated by a renowned painting teacher, Robert Henri. The Maratta system enjoyed a brief period of popularity, but was eventually rejected by Henri's students as being too technical.
U.S. Pat. No. 3,628,260 to Jacobson (1971) and U.S. Pat. No. 3,722,109 to Jacobson (1973) disclose a color mixing system which proposes that predicted color results are most easily achieved by mixing like values of colors together. A 35-color assortment of paints based on this patent was manufactured in both oil and acrylic and marketed under the trademark Modular by Permanent Pigments, a division of Binney & Smith, Inc., of Cincinnati, Ohio. It failed commercially, largely because of the perception that buying 35 premixed values of just ten different hues was neither economical nor convenient. The chief ingredient in many of the paints was white or gray, and the complete system required an unnecessary number of paint tubes e.g., four tubes of blue, where one would do.
More recently, an approach to artists' colors is proposed by U.S. Pat. No. 5,033,963 to Bourges (1991) and U.S. Pat. No. 5,161,974 to Bourges (1992) which disclose, respectively, a 20-hued color system, and an improvement in which its colors lie entirely within the gamut of standard four-color offset printing. Consequently, to insure reliable color reproduction, this system requires the artist to abandon the broad gamut of traditional pigments, and use instead 20 hues, all derived from the four process colors (cyan, magenta, yellow, and black).
In my previous U.S. Pat. No. 5,860,518 (1999) 1 disclose a computer-displayed color picker based on a compartmented pastel case. In arranging pastel colors within each color compartment, I suggest that the introduction of minor warm and cool variations of the basic hue be allowed in order to add vitality to the resulting color assortment, however I describe no system for defining the extent of these variations.
Other prior-art color systems, charts, and color atlases share many of the general disadvantages cited above. These include needless complexity (or, on the opposite hand, oversimplification), barely distinguishable color variations, inflexible organization, and a restrictive adherence to the limitations of a particular medium or technology. A color-appearance system for modern, practical artistic use should, however, neither overwhelm by sheer number, or subtlety, of choices, nor surrender to the limitations of standard color display and reproduction processes, but instead offer a concise, flexible format for organizing a representative sampling of the wider color universe present in whatever color medium the artist has chosen.
The color system of the present invention addresses these goals and others by redefining the artist's twelve color families, and providing an improved organizational format for traditional coloring materials as well as the colors produced by current technologies.
Accordingly, several objects and advantages of my invention are:
(a) to provide an improved color-appearance system which organizes a collection of color standards most useful to artists;
(b) to provide a practical color-appearance system capable of arranging any color medium into a compact, well-organized assortment of strategically selected color elements;
(c) to provide a color-appearance system which fully represents the visible spectrum within an easily managed number of color families;
(d) to provide a color-appearance system whose color families, and constituent color elements, are significantly distinguishable from one another;
(e) to provide a color-appearance system which presents a pair of warm and cool boundary-hues alongside a central, “unbiased” median-hue within specified color families;
(f) to provide a color-appearance system organized in a format familiar to artists;
(g) to provide a color-appearance system whose format is adapted to effectively organize and present color on various digital or other types of electronic display; and
(h) to provide a color-appearance system with a color assortment of such moderate size that the accumulated quantity of individual color elements can be conveniently viewed and used in a single chart, digital or electronic display, or physical arrangement.
Further objects and advantages are:
(a) to provide a color-appearance system which exhibits increased color variety by defining a distinctive range of hues within specified color families;
(b) to provide a color-appearance system which enhances color comparison and selection by configuring ranges of hues in prescribed patterns;
(c) to provide a color-appearance system whose color elements can be indexed to and represented by color samples in the form of atlases, swatch books, paint chips, colored papers, computer print-outs, digitally specified on-screen color palettes and selection devices, and other color display means which allow direct, side-by-side color comparison;
(d) to provide a color-appearance system whose color elements can be indexed to and used for specifying fixed-color media such as pastels, mosaic tiles, beads, textiles, and stained glass;
(e) to provide a color-appearance system which, when indexed to color formulation tables, enables its color elements to be matched by means of a variety of mixable media such as pastels, oils, acrylics, and gouache;
(f) to provide a color-appearance system whose color elements, when indexed to digitally displayed colors, link traditional coloring materials to relatively equivalent, on-screen colors for use in computer graphics, tutorial, and database programs;
(g) to provide a color-appearance system which, by indexing color elements to formulas, establishes a database that facilitates the mixing and matching of custom colors, and color combinations, and the recording, tabulation, and transmission of formulas for duplicating such color mixtures, matches, and combinations in a variety of media; and
(h) to provide a color-appearance system which is suited to the selection, organization, and use of artists' colors for projects and applications typical of fine arts, and crafts, using traditional materials and techniques, but which may also aid in the selection, organization, and use of professional- and consumer-grade coloring materials in connection with home decorating, architectural design, commercial reproduction, and color merchandising, as well as various other products and services.
Still further objects and advantages will become apparent from a consideration of the ensuing description and drawings.
My color-appearance system organizes, through various charts, a comprehensive sampling of the visible spectrum into a relatively small number of discrete color elements. A bi-radial Circular Color Chart, by excluding some saturation levels and hue sectors, distinctively defines a neutral core surrounded by color families whose components have prescribed ranges of hue and saturation. A Columnar Chart sets the format for organizing individual color elements within each color family. A series of prescribed patterns are used to arrange color elements in “variant-hue” charts. The variant-hue charts consolidate sampled color elements, and enhance both color comparison and color selection within each respective color family by displaying variations of all three color attributes, that is, value, saturation, and hue, simultaneously. A color picker, arranged in accordance with the system, is used to display and select color elements organized in color families on a computer screen.
The patent or application file contains at least one drawing executed in color. Copies of this patent or patent application publication with color drawing(s) will be provided by the Office upon request and payment of the necessary fee.
In the drawings, closely related figures have the same number but different alphabetic suffixes.
According to the invention, my system provides samples of the visible spectrum as an assortment of discrete color elements. These color elements are selected and arranged according to the three well-known attributes of color, i.e., hue, value, and saturation: Hue, in scientific terms, is the wavelength of light reflected from, transmitted through, or emitted by an object. It also is the name of a color such as “red,” “violet,” or “green.” Value is the darkness or lightness of a color relative to a scale of neutral or achromatic (colorless, having no hue) grays ranging from black to white. Saturation (also called chroma) is the purity or strength of a color's hue relative to a neutral gray of similar value. It is often indicated as a percentage from 0% (completely neutral), e.g, the just-mentioned neutral gray scale, to 100% (fully saturated) which indicates a pure hue, without any white, gray, or black added to it. (Saturation is well-illustrated by Ostwald's constant-hue chart [
The system uses three major charts to selectively organize and present a comprehensive assortment of key color elements. First, a Circular Color Chart (
Before considering the system's organization of color elements within color families, I will describe the overall arrangement and definition of color families, by saturation and hue. This is accomplished by the Circular Color Chart (
Separated Saturation Organization—
Three general levels of relative saturation, according to the invention, are shown by the Circular Color Chart (
The Circular Color Chart (
First, an outer or main color circle 50 diagrams the size and positions of a series of twelve main color families 20, each respectively representing one of the twelve general hue sectors 18 of the visible spectrum, i.e., red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet.
Second, a middle or neutral-hue color circle 60,
Third, a central circle or neutral core 70 represents the achromatic or neutral-gray color family (black, a scale of neutral grays, and white).
These three active color areas define the various color families according to relative saturation, from strongest at the perimeter to zero saturation at the center. An inactive color area 55 (
For a better understanding of why it is important to make the color families and their elements more easily distinguishable from one another by separating the active color areas into three discrete saturation levels, consider the prior art. Previous systems organize their colors into a contiguous series of hues and saturation levels, each group beginning where the neighboring group ends, as shown in
Separated Hue Organization—
The Circular Color Chart of
I define main color families and their excluded-hue sectors as follows: Main color circle 50 evenly distributes its twelve main color families in reference to an equally-spaced 48-point division of its circumference 27. Separated from one another by excluded-hue sectors 49, each main color family 20 has a central or median-hue 22 which is flanked or bracketed by a pair of boundary-hues 21 and 23. Each median-hue and each boundary-hue's position lies midway 28 between a pair of division points 27, resulting in a configuration in which each main color family has an active hue range 25 of about 16° and is insulated from its neighbors by an excluded-hue sector with an excluded-hue range 26 measuring about 14° (the number of degrees between, but not including, the boundary-hue positions on either side).
By specifying excluded-hue sectors, hues which would fall nearly or exactly in between color families are eliminated, and the system's active hue-ranges are thus more clearly differentiated. This distinct interval of separation between color families lets the user more quickly find, choose, and replace colors.
Bi-Radial Hue Plan—
One of the criticisms of the Ostwald and the Munsell color systems, and many other prior-art color systems, is that the weakly-saturated hues they contain are difficult to distinguish. (As noted supra, the weakly-saturated colors are to be found near the centers of the Ostwald and Munsell color system charts,
The present system avoids this defect by rejecting the use of a single radial plan; that is, a plan in which the divisions between all color families lie on common radii. Instead, its weakly-saturated color elements are differently organized within the neutral-hue circle.
I define neutral-hue color families and excluded-hue sectors (
Although their hue-range divisions and saturation levels are different, the twelve color families organized in both the main color family circle and the neutral-hue color family circle represent identical general hue sectors 18 of the visible spectrum (i.e., red, red-orange, orange, yellow-orange, etc.) and each are respectively considered to be subsets of the same color family. Thus, the term “color family” (when used without specifying either “main” or “neutral-hue”) may include both the main and neutral-hue color families.
Thus, a bi-radial hue plan for the Circular Color Chart (
While the neutral-hues are less frequently used by artists (and are easily achieved by mixing), having a selection of them on hand is convenient, allowing for the substitution of less expensive, and in many cases more lightfast pigments, when near-gray colors are needed.
Saturation Organization of Color Elements—
The group of main color family columns 51 arranges its color elements in three saturation levels: First, a saturated column 52 is designated for containing the main color family's relatively most-saturated elements. Second, a modified column 53 is designated for containing the main color family's relatively modified or moderately-saturated elements. Third, a dull column 54 is designated for containing the main color family's relatively dull or least-saturated elements. The sequence of columns in
Neutral-hue color family column 61 (
Finally, neutral-gray color family column 71 (
As stated, the horizontal sequence of the columns described above indicate the arrangement of individual color elements according to their relative saturation level within the color assortment. The vertical sequence in which these color elements are arranged according to value will now be described.
Value Organization of Color Elements—
Within the columns shown in
Within each main color family, then, color elements 40, organized into relative saturation levels, as diagrammed in columns 51, are organized sequentially within each column according to relative value, from light to dark. Within each neutral-hue color family, as diagrammed in column 61, color elements are also organized sequentially according to relative value, from light to dark.
Within the neutral-gray color family, diagrammed in column 71, gray color elements are organized, top to bottom, in a sequential range of values from white to black.
Value-levels in each column are independent of the other columns. Thus a row 56, reading horizontally across the entire width of
Because colors, as will be explained below, are more easily assessed when seen in direct comparison to other similar colors, the present system organizes the arrangement of color elements within its main and neutral-hue color families to display variables in all three aspects of color (saturation, value, and hue).
The result is that variant-hue chart 44 (
Alternatively, a set of differently defined consolidation patterns can be used to choose color elements from a trio of differently sampled constant-hue charts (similar to charts 41, 42, and 43), which when consolidated form a main color family diagrammed by an alternative variant-hue chart 45 shown in
By a similar process,
The consolidation patterns just described, in each case create an arrangement wherein perpendicularly adjacent color elements always have different hues. In the case of the neutral-hue color family's variant-hue chart (
The creation and use of variant-hue charts, then, is an improvement over previous color systems. The Munsell color system, for example, which uses a constant-hue chart (
Through variant-hue charts, the present system is able to consolidate 60 representative constant-hue charts into twelve color families.
Also, by prescribing a range of hue within each color family (except for the neutral-gray color family), and configuring their respective color elements using the specially patterned variant-hue charts, the hue characteristics of and contrast between individual color elements is enhanced. Adding the variable of hue, then, relieves the monotony otherwise presented by a color group whose only variables heretofore have been saturation and value. This gives the artist a livelier gamut within each color family, from which more refined color judgements and selections can be made.
Colorant Gamut Sampling—
Color System Overview—
An overview of the results of sampling the colorant mixture gamuts for each color family, according to the preferred embodiment of the present system, is shown in
From this table of color elements (
The color family groups 77 and neutral-gray color family group 71′ shown in the Color Map of
Computer Color Selection—
In an exemplary embodiment as shown in simplified block diagram form in
Color pickers are now part of the interface of every computer imaging program. These provide the user with a way to visually compare and choose colors. Usually several types of color pickers are available in a program (or operating system), some allowing colors to be chosen from the entire (over 16 million colors in theory) RGB gamut (
For the purpose of color matching, as will be discussed under Operation, individual color elements as they appear in any of the forms of display which have been described (e.g.,
A principle of the invention is that a moderately-sized assortment of well-chosen, strongly-saturated colors is of more practical use to artists, particularly painters, than are larger assortments containing many barely-distinguishable color variations. To this end, the system's color families, and their respective color elements, are defined to provide variety, strength, and effective organization.
These objectives in organizing artists' coloring media are accomplished as follows:
In my previous U.S. Pat. No. 5,860,518 (1999), supra, I suggest that minor hue variations can be included within each pastel color family to provide the artist with a livelier, expanded assortment of colors.
The present system improves upon this idea, not only for pastels and other artists' pigments, but for color-appearance applications in general, by segmenting the visible spectrum into a series of discrete hue ranges of both the main and neutral-hue color families. As already described (
Similarly, although according to a different radial plan, neutral-hue color circle 60 (
Ranges of hue within color families present advantages to the artist beyond simply adding more color alternatives. For instance, it is well known that the appearance of a color is always influenced or modified by the colors which surround it. Many color atlases even suggest using a neutral gray mask to cover adjacent colors when selecting a single hue. However, it is equally true that this same phenomenon (“simultaneous contrast” cited supra) causes similar colors to be more easily and accurately differentiated when seen immediately next to one another. In the variant-hue charts of the present system, each main and each neutral-hue color family's color elements are organized in patterns which prescribe perpendicularly adjacent color elements to have different hues. This enhances color comparison and enables the artist, depending upon the project at hand, to make either quicker, or more reliable color judgements and choices.
In regard to producing artists' materials, prescribing a range of hues within a color family also provides the flexibility to group color elements which are derived from several different pigments. For example, in the orange hue range both cadmium orange and burnt sienna (a pigment which is less expensive and more lightfast) may have the same hue in certain values, but a different hue in lighter values, with the burnt sienna exhibiting a cooler and less saturated tone. Since hue variations are acceptable within a defined range, an artist (or manufacturer) can elect to assemble, display, and use a wider variety of pigments within a single color family, thus taking advantage of the superior lightfastness, tinting characteristics, and economy of different pigments at various levels of value and saturation.
A well-chosen saturation range is critical in creating color assortments which provide the kind of color variety that is useful to artists.
A further advantage in having a varied range of saturation levels is faster and more accurate color mixing. The usual practice in painting is for the artist to make some initial color statements in a composition, after which each color note must subsequently be refined or made more accurate (by adding small amounts of other colors). While no color system can substitute for the necessary acquired skill that the artist must possess in choosing and mixing colors, the present system provides a wide sampling of available colors, meaning that a desired color which needs to be mixed is never far away. An example is shown in
Maximum Color Strength—
One of the chief criticisms of the Munsell color system (
While it is possible for the Munsell color system to more fully sample a colorant mixture gamut by using smaller saturation and value increments, to do so requires its number of color samples to rise to the tens of thousands.
As an aid to the artist in mixing color, the present system's NearPrimaries™ color set sampling (
Secondly, it is focused on providing colors an artist needs. Impressionist color teacher Henry Hensche states in “The Art of Seeing and Painting,” Thibodaux, La.: Portier Gorman (1988) p. 90, that the best palette for a painter is one that contains only those colors that cannot be mixed from others. From such a palette of unique, pure pigments a skilled colorist can mix a full gamut of color in various ranges of value, saturation and hue. Color-appearance systems are a convenient means of elaborating on collections of such basic pure pigments. By presenting a comprehensive sampling of the gamut available using these basic primaries they, in effect, perform some premixing for the artist, giving her a head start at achieving various targeted colors. While other color systems present their gamut at all levels in even steps, the NearPrimaries™ color set's emphasis is on presenting the strongly-saturated portion most useful for mixing.
Finally, it is often difficult to judge, while mixing color, exactly how much of another color to add to have a significant or desired effect. The present system's display of distinguishably different steps in value and saturation, clustered around a prescribed range of primary hues, gives the artist a gauge of how much color change is necessary within a color family to be noticeable and effective. Thus the sampling methodology of the NearPrimaries™ color set provides the artist with both a compact arsenal of powerful color elements, and a scale of significant color differences.
The present system's effectiveness in organizing color for artists' use has been detailed in the description of its major organizational charts. The Circular Color Chart (
The system's emphasis on distinguishability presents a number of operational advantages: First, the color assortment is easier to keep organized since there are clear distinctions between color elements there is rarely a doubt as to where a color belongs. This is important to the artist who, when working with fixed-color elements, must often place colors back in order during or after use. Second, color elements with significantly noticeable differences are more quickly assessed and therefore more quickly utilized. Third, the significantly noticeable difference between color elements holds the system to a manageable number. This size limitation is essential to efficiently organizing an assortment of beads, mosaic tiles, crayons, markers, pencils, pastels, or other types of fixed-color materials which must occupy actual physical space.
The Color Map of
Ease of use is further afforded to artists by
Computer Color Selection—
The swatch set of
An even greater degree of visual logic is evident in
To conserve screen space, the color-element selection palette and its associated color-family display may be partially collapsed to show only the main color family and neutral-hue color family, as shown in a palette 110, or only the main color family as shown in a palette 112 of
Thus the digital selection and display of respective color families is graphically related to the hue positions of traditional artists' color diagrams like the color circle in
Similar disadvantages are encountered in the type of color pickers shown in
Returning to the color pickers of
The basic operation of the color pickers shown in
Similarly, the basic operation of the alternative color pickers shown in
The keyboard operation of the color pickers in
The keyboard operation of the color pickers shown in
As previously noted, the present system's variant-hue chart can be characterized as a means for presenting three color dimensions (value, saturation, and hue) in a single, two dimensional chart. However when displayed on screen as a computer-program's GUI color selector (
Color Formulation Databases—
These color standards can be used as the basis for creating, arranging and indexing an assortment of pastels, colored papers, mosaic tiles, beads, textiles, stained glass, and other fixed-color elements. Additionally, through careful mixing and record-keeping techniques, a database of formulas for matching these color standards with mixable-color media may be compiled.
Individual artists can build their own color-formulation databases, for example, by matching the colors of this reference table with their preferred media.
Mixing matching colors, while time consuming, is a straightforward process. A color match to a target color can usually be made with four pigments or less; two pigments to bracket the hue are added to a base pigment (most often white) and the appropriate complementary pigment (or black) is added to gray the color to the desired degree of saturation. Proceeding methodically in this manner, a complete database of formulas can be compiled allowing artists to duplicate any of the color standards with their preferred media, in whatever quantity is needed.
Such a database of color formulas, in effect, offers the artist a head start for mixing a standard color which is very close to any conceivable color. Final hue, value, and saturation adjustments can be made by eye, and any necessary changes may be noted in order to record a formula for mixing a quantity of any desired “non-standard color” (any color not in the reference table). Thus, an artist can more quickly match non-standard colors (and generate formulas for them) without having to rely on technology, i.e., spectrophotometric measurements and color-formulation software.
Of course, it would be advantageous to artists if these reference materials and formulas were already prepared and available. A set of such color standards, fashioned according to the present system, can be developed by an art materials manufacturer using its own color products. By assembling assortments of pastels, mosaic tiles, and similar fixed-color elements based on these color standards, and compiling the formulas needed for matching these same color standards with oil, acrylic, gouache, or other traditional mixed-color media, an indexed color-matching database can be created which links a manufacturer's entire color product line to a variety of applications.
Such applications would include professional color communication between designers and illustrators, painting instruction and demonstration, general arts education, arts and crafts projects, home decoration and furnishing, as well as other forms of color merchandising and specification. The possible color products and technologies linked to would range from electronic to physical, including numerically-quantified digital colors, video colors, transparent colored gels, photographically-reproduced colors, spot-color inks, offset-printed colors, silk-screened colors, painted color swatches, pastels, crayons, markers, pencils, paints, inks, dyes, papers, textiles, plastics, stained glass, mosaic tiles, stones, clays, and beads.
These color standards and formulas can be presented to the artist, or other color user, in the form of published reference materials such as the color atlas shown in
Making such reference materials available creates a strong incentive for an artist to use the providing manufacturer's products, since the formulas would aid an artist working in one medium to translate colors into another medium, quickly and accurately.
The incorporation of a computerized version of this color-formulation database in various software applications (especially arts-related tutorials) would also be an incentive for computer users to try their hand at using traditional coloring materials and techniques. By linking in this way to the current fields of digital image-processing, communication, and commerce, an art materials manufacturer can promote the cooperative use of its color products with technology, and expand its existing markets.
Furthermore, with suitable software, this color-formulation database can, by interpolation, allow the computer to do much of the work involved in generating formulas for mixing any desired non-standard color. Desired colors can be targeted by scanning photographs, sampling images created on a computer, or by taking spectrophotometric readings from traditionally-painted images (e.g., small sketches done in watercolor or pastel). Alternatively, the artist can gauge a close color match by eye using a swatch book, and use the associated formula as a starting basis for mixing an accurate color match. Such color-formulation techniques can automate or make more reliable many of the methods by which an artist arrives at formulas for translating colors into other media, mixing paints in quantity for large canvasses or murals, or repeating mixtures of colors for variously-sized, or multiple painted versions of the same image. Additionally, these computer-generated formulas may be processed in such a way as to provide adjusted proportions of the most economical pigments for mixing the most lightfast match to a target color.
Optical mixture of fixed-color elements is a common phenomenon which poses one further type of color-formulation database. Although widely encountered in today's computer graphics images, dithering (positioning small elements of color together in an area so they optically mix to create a new color) is not a new technique. Mosaic tiles were used as early as the 5th century to juxtapose small color elements which combine to form a new color when viewed at a distance. The previously discussed advantages of compiling databases for matching colors with mixable-color media, also hold true for optically mixing color matches with fixed-color elements (i.e., beads, tiles, yarns, stained glass, and other mosaic-like materials). While the artisans of yore developed their optical mixes through trial and error, it is now possible via the computer to previsualize optically mixed color combinations on screen or in printouts, as shown in
Accordingly, the reader will see that whereas many previous color systems have used “just noticeable difference” as the criteria for assembling color assortments, resulting in unduly large numbers of color elements, my artists' color system discloses the means for selecting and organizing a moderately-sized assortment of color elements which exhibit “significantly noticeable difference.”
By defining active and inactive color areas, the system is able to represent the visible spectrum with a relatively small number of color elements. Since any desired color may be achieved through skillful mixing, a balance is struck between having too few, and having too many color elements. The advantage to the artist is that the collection is manageable and accessible, yet comprehensive enough for her to be able to quickly close in on a target color by having colors already very near to it to mix with.
Furthermore, unlike other color systems which impose a rigid, uniformly-stepped sampling and organization in each general hue sector of the visible spectrum, the present system allows the sampling and placement of color elements within its color families to be flexibly determined by, and tailored to, the characteristics of each particular hue.
Another distinct advantage of the present system over prior art color systems is its segmentation of the spectrum, which clearly differentiates each color family from its immediate neighbor, and defines within each color family (except for the neutral core) a prescribed range of hue. The artist is thus afforded the order and simplicity of a manageable number of color families, and at the same time a useful and distinguishable variety of hue choices within each grouping.
Ease of use is also afforded to the artist by the present system's correspondence to the painter's triangle, a basic hue arrangement that is typically introduced at the grade school level of arts education. This figure, well known for its simplicity in diagramming the mixing relationships (primaries, complementary colors, etc.) of pigments, is ignored by other color systems.
In computer color selection, the division of the present system's segmented concordance with the painter's triangle is a significant improvement over the contiguous RGB-based color circles and arrays typical of computer color pickers, in that the positions and relative proportions of each general hue sector are more accurately related to artists' pigments. Thus the present color system presents an effective interface between traditional coloring materials and digital technology.
Finally, the variant-hue charts of the present system display individual color elements positioned in patterns which accentuate the contrasts within each color family's discrete hue range. Thus the artist is aided in actually seeing more hue difference within each color family, and helped to make faster, more reliable color judgements and choices.
Although the description above contains many specificities, these should not be construed as limiting the scope of the invention but as merely providing illustrations of some of its presently preferred embodiments. Many variations and ramifications are possible. For example, the system's number of color elements can be increased into a larger (or reduced into a more compact) collection of color elements organized along the same principles as described above; the general hue sectors and total number of color families may be adapted to correspond to, or reorganize, an existing color system; the colors organized are not limited to traditional artists' coloring materials, colors of computer palettes, color pickers, and other digitally or electronically displayed color devices or programs, but may also include commercial printing inks, fabric dyes, various consumer and professional coloring products and services, as well as home, business, architectural, and industrial coloring materials, coatings, etc. Also, the preferred format of the variant-hue charts need not be restricted to a matrix pattern of adjacent, contiguous squares or rectangles, but may instead comprise other geometric shapes (octagons, hexagons, circles, etc.) arranged in matrix patterns such that the shapes are spaced closely together within a predetermined distance, instead of touching each other. Additionally, the placement of such shapes need not be limited to a perpendicular grid array, but may be arranged in oblique rows and columns so that the same patterned relationship which prescribes that “adjacent” color elements have different hues occurs along oblique lines rather than perpendicularly. Regarding the color pickers set forth above, their size and configuration as well as the size and configuration of their associated color diagrams may vary in accordance with the computer application or operating system in which they are implemented, or the existing color system they are adapted to; furthermore, their operations may be accomplished by interfaces other than those described (i.e., commands may be issued by means of pull-down menus, alternatively-assigned keyboard combinations, etc.). One skilled in the art will be able to practice variations in the system described which fall within the teachings of this invention.
Thus the scope of the invention should be determined by the appended claims and their legal equivalents, rather than by the examples given.
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